Beethoven: Symphonies

 

Karajan with Berlin may play Beethoven's symphonies weightier and slower than recent trends, such as the Chailly set I recently traversed. However, these are bursting with muscle and heroism, just what Beethoven needs, at least in my opinion.

Some quibble over whether Karajan's 60s or 70s Beethoven symphony cycle is better, but I find each within a hair's breadth. The approach is similar from the German conductor either way.

I have since moved on to the Blu-ray audio edition (in the video below) of the CD set pictured above (this is the 70s set, by the way), where the CDs include Beethoven's overtures as well. I also have these same overtures from Berlin and Karajan on a separate 2CD set in addition to everything else I have mentioned.

A review from 2000

Herbert von Karajan’s 70’s set of Beethoven’s symphonies has lain in the shadow of his earlier 60’s set, both featuring the Berlin Philharmonic. I don’t think I am wrong in intimating that I believe Karajan’s vision of Beethoven’s symphonies didn't really change much in the ensuing decade, and so I cleave to this 70’s collection which has a closer orchestral perspective compared to that 60’s one. This latest remastering is a wonderful step up in the audio department from the DG galleria individual releases, although this 70’s edition has since been issued in Blu-ray audio on DG, but that one does not come with any CD’s, so playing the new blu-ray release is a bit more difficult if you want to listen on the move; thus this 6-CD set still remains my recommendation from The Great Von Karajan.

The greatest boon for this symphony cycle are the accompanying Beethoven overtures, a reference set from the 60’s filled with unusual vigour and energy. The full weight of Berlin is poured into the Egmont and the vitality is carried over into the other accompanying 5 overtures. The only downside is there was no thought to include the other overtures from Karajan’s 2-CD release on DG, an exquisite set of Beethoven’s overtures.

The Berlin Philharmonic was a bit of a sleek ride by the time this set was released, an apt comparison to George Szell’s leading of Cleveland on Decca around the same time as the 60’s set, but Karajan’s vision was swift and muscular compared to some of the magisterial or granitic performances of the time. I know his version of the first two symphonies are a bit out of fashion nowadays, but Berlin is surprisingly dainty enough in the 1st for me, and I love that Karajan doesn’t back away from Beethoven’s multitude of sforzandos and minor-keyed meanderings. Those looking for the lean speedsters of Gardiner and Zinman or a period orchestral sound will not be pleased here, although Riccardo Chailly’s Gewandhaus outing on Decca is interesting even if I don’t think he has as much to say about Beethoven’s music outside of fast tempos. It should also be noted that Karajan eschews all of the 1st & 4th movement exposition repeats except in the 5th and the 8th symphonies, otherwise, he observes all of the 3rd movement repeats, if that is important to you.

My personal preferences lie with Beethoven’s major-keyed symphonies, particularly the 4th, 6th, and 8th, and the Berlin Philharmonic gives some furious string work and jubilantly gutsy climaxes. And if Karajan’s 6th never made it into the pantheon, with a concluding movement that never comes into its own, he sure drives ahead through the country rather than a leisurely saunter. The popular 3rd, 5th, and 9th are rightly in a class of their own, swiftly electric masterpieces each; and even if the 9th has never really done it for me as a whole, I do think Karajan’s 70’s vocal quartet is a very good one, with Belgian bass José Van Dam leading the pack. The Vienna Singverein chorus was never my favourite, the sopranos are often stretched at Beethoven’s extremes, but here they are a much more appealing, solidly symphonic ensemble than their appearance in Karajan’s Missa Solemnis on DG, a work that tests the same group’s mettle.

The sound here is very good, almost cinematic with its unusually strong bass line and impactful timpani. Karajan always favoured a large, warm, forward string sound that won’t appeal to everyone, but DG allows the winds a decent voice as the symphonies go on, but I will admit they are subsidiary from time to time, even if the countless wind solos leap out satisfactorily. Some accuse these recordings as homogenous, but I can’t think of an orchestra that sounds like this anymore, and certainly not with the torque-driven chutzpah that Karajan imbues into Beethoven’s music. I think I prefer his vision over the competing Szell, a performance that brings to light more of Beethoven’s articulations literally, but thankfully, I can enjoy them both!

As to this 70’s collection of Beethoven’s symphonies, aptly remastered in the 2000’s, I enjoy them quite a bit. I think these performances still have something to say today, even if the traditions and styles of today’s orchestras are different than Karajan and Berlin from the 70’s. Dynamic, clear sound that is warmly luxuriant instead of hard or coldly percussive, this is an excellent set.

Soloists (op. 125 only)
Anna Tomowa-Sintow, soprano
Agnes Baltsa, alto
Peter Schreier, tenor
José van Dam, bass

Performers
Vienna Singverein (op. 125)
Berlin Philharmonic Orchestra
Herbert von Karajan, conductor

Label: DGG
Year: 1966-77; 2007
Total Timing: 6.14.24

 

For me, this is what Beethoven should sound like.

If you like your Beethoven a little more softer-grained, best look elsewhere. This is big-boned Beethoven, without an ounce of flab.

 

 

 

 

Find more Beethoven recordings HERE!